There is no abstract available for this thesis.

There is no abstract available for this thesis.

The primary purpose of this study was to compare two methods of instruction for teaching music listening to upper elementary children--an experimental approach utilizing the 4MAT instructional model of Bernice McCarthy and a conventional approach based on textbook materials. The investigator employed the 4MAT model for incorporating a holistic and whole-brain approach into music listening instruction. The study compared mean differences on two dependent variables, attitude and achievement test scores, between two groups (teaching methods) and two grade levels (fourth and fifth grades). Analyses of variance (ANOVA) were used to assess both primary and secondary data regarding gender, grade, and teacher. The researcher also analyzed subjective observations of participating teachers.Subjects were 440 fourth and fifth grade students from two suburban schools randomly assigned to intact classes and equally divided between grades to 4MAT or conventional instruction. Each class heard three classical music selections within a six-lesson framework. The investigator assessed subjects' attitudes toward classical music and their music knowledge after instruction.No significant effects resulted for instructional method. Further investigation of gender, grade, and teacher suggested some interactions for attitude: attitudes of 4MAT-instructed males of Teacher A tended to be more positive than those of conventionally-instructed males; the fourth grade sample produced greater gains for Teacher A in the 4MAT condition and for Teacher B in the conventional condition; three-fourths of the fifth grade cells in the 4MAT condition showed gain, and three-fourths in the conventional condition showed decline.Regardless of instructional method, males showed a significantly more positive attitude than females; fifth grade subjects tended to be more positive than fourth grade subjects; significant difference in attitude between students of the two teachers might be ascribed to socioeconomic standard or academic achievement level.Conclusions: (1) furnishing students with opportunities for hearing classical music is likely to produce improved attitudes toward classical music; (2) if the goal of music listening instruction is to provide students with cognitive and affective experiences, and to benefit from findings regarding musical behavior, brain research, and individual differences, the 4MAT instructional model offers a viable approach for listening lessons. / School of Music

The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers who have written pieces suitable for performance by youth orchestras. The advantages of including Latin-American music in the repertoire of youth orchestras was demonstrated. Social, cultural and political as well as musical reasons for this inclusion were stated.Characteristics of the music of those countries that make it very attractive to young players were taken into consideration in the study, as well as the influence that hispanic traditions have exerted upon the culture of the United States for more than two centuries.It was demonstrated that this cultural interaction, stronger in certain regions of the country, offers added justification for the inclusion of Latin-American repertoire.The analysis of the works selected demonstrated the availability of works of quality that are suitable for performance by youth orchestras, even though they may not have been originally conceived with that in mind.Ancillary identification of information The nature and the author's knowledge of States.Theto the findings listed above was the of substantial omissions in primary sources and reference works consulted for the study. location of these omissions helped to confirm contention that there is very little general art music of Latin-America in the United study also revealed the need for updating current sources of information in order to include more references. The necessary might be to Latin-American composers and their music. project revealed that adjustments in some institutions, both in the United States and the neighboring countries, in order to promote better the music of Latin-American composers in this country. Also, in some cases, the standards of publication and/or copying of materials in the country of origin needs to be upgraded. / School of Music

The purpose of this study was to provide a series of teaching units to assist the high school band director in integrating music theory into the daily rehearsal schedule. These units provide a workable alternative to the teaching of music theory within the large performing ensemble.Teaching Units1. All musical examples in these units were written to reinforce the explanations of the given lesson material, and all musical exercises were written to be sung and to be played on the student's own instrument.2. The organization of the teaching units was designed to be flexible enough to meet the individual needs of teachers and students in the band rehearsal.3. Representative material for this study included intervals, modes, major and minor scales, pitch-class and interval-class, triads, seventh chords, and transposition.4. These lessons provided short, sequential units of instruction which were designed to provide opportunities for creative musical development and understanding of our musical languageConclusions1. The systematic utilization of theoretical material and creative exercises will promote an understanding of the relationships between the visual and aural elements of music; it will provide an aid in the performance of the students' musical duties; it will increase the overall musicianship of the ensemble.2. There is a tremendous need for an integrated music curriculum from grades K-12.

The purpose of this study is twofold: (1) to formulate the bases for a music curriculum to be offered at high school level; and (2) to evaluate the present music offerings in seventy-five representative Texas high schools.

This study provides an introduction to Rudolf Steiner's ideas on music and music education and describes how these ideas have been adapted and applied in Grades One through Three in North American Waldorf Schools. Included in the study are: Steiner's basic philosophical concepts relating to music and music education; Steiner's rationale for aesthetic and music education; a description of the Waldorf approach to music teaching; results of a questionnaire sent to twenty-three Waldorf Schools in North America; a comparison of Steiner's key ideas on music education with those of Orff, Kodaly, and Dalcroze. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of the creative approach in music education is to furnish the child with opportunities for originality of expression and for freedom and adventure. This thesis examines the goals and purposes of using creativity in music eduction.

The author has endeavored in this thesis to present the subject of creative music in its two wide aspects, theory and practice. Part I gives the educational background for presenting music through the creative medium. It is a brief review of selected literature in the creative field. Part II presents the practical side of developing a creative program in poetry, notation, rhythm and art.

We have found that the more progressive music supervisors in the larger city school systems have already seen its value, as they testify, and we predict that, like all other developments in music education, it will spread to the smaller cities as they become able to take on this phase of the music program. We have seen evidences that the financial stress of the moment has somewhat curbed advance in this direction as it has in many other instances, but everyone seems to be looking forward to resuming the practice as soon as possible. In conclusion let us say that chamber music in the public school music program is definitely a thing of the future. Its true effectiveness can be judged only after it becomes a universal practice and after teachers are especially trained for that line of work.